There’s no question that if you’re looking to do a shoot lit only by moonlight, then the a7SII is going to trump its high-megapixel sibling. We wanted to see if there was a massive and substantive difference between the two in normal shooting conditions.

The Sony a7SII has a couple of neat features that make it a worthy upgrade over its predecessor. It still has the same class-leading low-light performance but adds in-camera 4K recording and a new S-Log3 shooting mode – something that’s typically found on Sony’s more expensive video cameras. This clearly makes the Mark II version of the a7S as a very video-centric ILC, so we took it out to see just how different the S-Log3 mode was from the S-Log2.

The field of film emulation software has some pretty well-established players in both the video and stills worlds. On the still photography side, there’s Google’s Nik Collection software, VSCO’s Film Series of plugins, and a variety of others. On the video side, however, things are… somewhat more complex (as all things video generally are).

There are more than a dozen Neutral Density filters available under the Video section of our website, ranging from screw-on fixed-value ND filters to high-end Schneider rectangular filters for matte box stages. In this video, we walk you through why you’ll want an ND filter when shooting video and what your options are.

SD. HD. Full HD. Quad HD. UHD. 4K. DCI4K. Something-point-something-K. Video resolutions are confusing enough for consumers but as a content creator they are even more confounding. Here at BorrowLenses, we carry cameras that shoot everything from 720p HD all the way out to 6K. That variety can be somewhat confusing when you’re trying to sort out just which camera you need to rent and what resolution to actually shoot at once you’ve rented it. And that’s before you begin diving into the world of aspect ratios, too.

Canon finally has an affordable 4K camera, Tokina’s got some cool Cine zooms for you, and we have the latest addition to the Leica family. It’s that time of the month again folks: here’s the July edition of all the fresh new gear at BorrowLenses! Hive Lighting Wasp Plasma PAR Light Kit Plasma lighting is catching on big-time these days. These kits from Hive Lighting draw relatively little power and, according to Hive, output the equivalent of 400–4,000 watt HMI lamps. Best of all, they have adjustable color temperatures and intensity, giving you a range of between 4,600K to 7,000K. Depending on the accessories you mount, they can put out a blistering 5,000 foot-candles of power at 10 feet. Doing the math, that’s… let’s see… carry the one… a lot of f-stops. Really. The Wasp Par kit comes with one par light, 4 lenses to give you a variety of lighting options, a set of scrims and barn doors. SmallHD Sidewider EVF We recently got the SmallHD 502 monitor into our inventory, and this flip-out frame and loupe is the perfect compliment to that monitor. It mounts – somewhat counterintuitively at first – sideways to the frame, which actually allows you to place the monitor parallel to your camera and gives you more of a run-and-gun-style add-on, which documentary filmmakers will appreciate. Interestingly, unlike other EVF/loupes, this one moves the monitor away from in front of your face, providing you with better situational awareness of your environment. The unit rents with the EVF loupe, a diopter assembly that lets you adjust it from –2 to +4, and a carrying...

Matt Maniego’s specialty time lapse work has been featured by the San Francisco Giants, the 49ers, and the Golden State Warriors, as well as the Pac-12 Network, Comcast SportsNet, and the NFL Network, just to name a few. Here he takes us along for the ride and shares his tips for getting the perfect time lapse.